Performance: The Cockroach

Statement:

What would you do if you lost everything?

Living with the Enemy by David Bulmer is an amusing and engaging monologue about an absurd situation. My character is an egocentric, obsessive individual whose overwhelming desire to catch a cockroach ends up destroying her perfect life.

Victoria is a woman whose life was seen as perfect and impeccable. She had a beautiful mansion in Mosman and a lovely family, until she developed an extreme obsession with a cockroach, which she believed was from the Western Suburbs. This obsession slowly but surely took over and destroyed her life. Victoria let this cockroach gain such control over her that she lost absolutely everything she ‘cared’ for. This monologue conveys the idea that because Victoria's life was so perfect, she lost the realistic aspects and values to a normal human life. Seeing one single imperfection (the cockroach) drove her to insanity, which adds to the comedy as it's unlikely for such events to occur. This is then highlighted as it seems utterly absurd and questionable for such a ‘put together individual’ to let such a small thing ruin her life.

I adapted and changed parts of the script to create a more engaging and dramatic journey for the audience. The lack of props in my piece allows me as a performer to use my imagination and present features using my body through mime rather than physical props. This is seen when I use body language and movement to hit Heather over her back with my Yonex Tennis Racket.

6-8 MINUTE SOLO PERFORMANCE

Performance: Grounded

Statement:

How would your life change if you found out you were expecting a child?

The piece I am performing for my HSC Drama Individual Project is an edited version of George Brant’s play Grounded. It follows the story of a powerful female fighter pilot whose unexpected pregnancy ends her beloved career in the sky. This piece resonates with me as I have grown up surrounded by several powerful women who have struggled their entire adult lives with the balancing of career and home life: a struggle that men are not often expected to carry to the same degree.

Throughout the entirety of Brant’s script, a contrast between sky and ground (freedom and restriction) is drawn. I have attempted to reflect this contrast through use of the drama block, being at the centre of my performance. In moments while the pilot is ‘up in the blue’, I have made the creative decision to stand tall and powerful on top of the block, reflecting the freedom she feels while in flight. When she has been relocated to the ‘chair-force’ or when she has her child, I position myself either sitting on the block or being on the stage floor entirely, highlighting the restriction and confinement she feels on ground level.

My costume, on a surface level reflects her job title of being a pilot. As it is revealed that she has been imprisoned or ‘grounded’ however, the costume choice reflects her inability to let go of her past life, constantly being teased by the thought of flight. My minimalist set encapsulates her isolation and confinement within her cell, only able to circle around one block.

When watching my performance of Grounded I would like the audience to feel empathy for the pilot. I would like them to invest themselves into this powerful character as she slowly descends into powerlessness.

6-8 MINUTE SOLO PERFORMANCE

Promotion & Program: Death and the Maiden

Statement:

Is it ever possible to escape your past?

My vision for Death and the Maiden centres on the past having a grip on Paulina. Despite the outward appearance of having moved on with her life, the trauma of her past has a strong hold on Paulina. It re-emerges when a stranger, Dr Roberto Miranda, gives her husband a ride back to their beach house and she hears the sound of his voice. Paulina believes it was Roberto who tortured her under an oppressive regime and she seeks justice.

I have chosen the Darlinghurst Theatre as the venue for this production of Death and the Maiden as I feel it will appeal to the politically aware audience. To support this notion I have made the production part of a hypothetical ‘Women’s Festival: Power in Theatre.’ Darlinghurst Theatre has a distinct design aesthetic in its promotional material, especially the newspaper-style layout of the program, and I have incorporated this into my project.

The past having a grip on Paulina has been visually translated into my design concept. For my poster, the central image is of a dark haired woman, Paulina, staring out at the viewer. Around her neck, grasping her, is a pair of male hands. Roberto’s. We do not see who the hands belong to, just as Paulina did not see the man who tortured her. Although this moment doesn’t occur in Dorfman’s text, it is a powerful metaphor for the power of Paulina’s memories over her. Paulina does however abduct Roberto and hold him captive until he finally confesses to being the man who abducted and tortured her years before. The background for the poster is the musical notation from Franz Schubert’s Death and The Maiden. This music is central: it takes Paulina back to her past, the discovery of a tape recording cements Roberto’s identity for her and is the score for the closing moment of the play. Therefore the poster image merges Paulina’s past and her present.

POSTER / FLYER / PROGRAM / MEDIA FEATURE STORY

Performance, OCD

Statement:

The piece I am performing for my Individual Project is an adaptation of a poem by Neil Hillborn called OCD. This poem explores the experience of someone with OCD who loses their lover as a result of it. I found a connection to this piece as I was interested in exploring this impact that mental illness can have on relationships.

In researching this disorder, I understood how much of OCD happens in someone’s mind and that it can have physical attributes in the form of compulsion, I wanted to be able to portray the internal conflicts the character feels. I chose to use the silences throughout to show her engaging in her thought process. These pauses also created a change in pace in the performance from faster to slower and more contemplative, for example, pausing after the moments where she ticks and repeats sentences.

I chose to have a simplistic set that resembles a psychologist's office with one chair and a side table. I made this decision so as to not draw the audience’s focus away from the young woman’s emotions. I made a similar choice with the lighting, having a single spotlight on her and the chair. This lighting and set also represents the isolation she feels in having OCD. These decisions again came from the idea of isolating her in the moment and creating focus on her emotional journey. To create more depth in the character, I also used the physicality of compulsions and ritual to portray her illness and anxiety in that situation.

I want the audience to connect with the character in order to get a sense of understanding what struggles someone with a mental disorder might face in everyday life that the majority of people otherwise wouldn’t notice. This poem shows the growth of the persona as she loses the one she loves and her coming to terms with something that has proven more difficult than normal because of her illness.

6-8 MINUTE SOLO PERFORMANCE

Performance, Jackie

Statement:

My self-devised performance is based on Jackie Kennedy, adapted from the movie Jackie and other research. The idea for this piece excited me as it was interesting to explore ‘behind the scenes’ of such an iconic woman in history as well as an event that shook the world, the assassination of JFK in 1963.

My monologue highlights the internal struggle Jackie has to face in dealing with the grief of her husband in a very public way, but also her struggle to find her identity. I was intrigued to portray Jackie’s enormous struggle and guilt in a realistic and genuine way. To perform this piece I used Stanislavski’s approach of ‘acting from the inside out’ learnt in previous years particularly useful in understanding and connecting with the character in a more personal way. By relating to past experiences and emotions I was able to understand how Jackie was feeling, allowing me to embody her as a character. I constantly asked myself, ‘What would Jackie do?’ By conducting research into her demeanour I was able to identify the complex emotions of anger, frustration, sadness and grief she experienced and her desperate fight to overcome them. Her strong willed personality makes it agonizing for the audience when she breaks down and comes to terms with the events that took place that day.

My costume choices are authentic to the outfit she wore on the day of assassination. This iconic pink suit symbolises the trauma of the day, represents Jackie's former self and how her life undoubtedly has been changed.

I want the audience to gain a deeper understanding and the ability to connect with who the real Jackie Kennedy was and what she became. That her life wasn’t what was portrayed and that she didn’t necessarily want the life she had but chose it out of unconditional love.

6-8 MINUTE SOLO PERFORMANCE

Director’s Folio, Tartuffe

Statement:

My individual project is a director’s folio based on the French comedy, Tartuffe by Moliere.

I was attracted to Tartuffe due to its comedic nature and its relevance to our society. My concept for Tartuffe diverges from the traditional setting of the play as I have based the character of Tartuffe on the infamous Russian holy-man, Rasputin. In order to do this, I am using Brecht’s historification.

My production retains the style of a Comedy of Manners play, as I believe that this is the best way to view the play in the style which it would have been performed. As I am inspired by Rasputin, I am drawing on a Russian aesthetic to help draw the audience into this world I am creating. This emphasises the departure from the source material and helps draw the audience into the world of the play. The costumes are inspired by Rasputin and the Russian royal family. The set is inspired by grand Russian palaces to display the wealth of the family and what they stand to lose when Tartuffe takes possession of their property. The music is also inspired by the Russian aesthetic with a live band playing traditional Russian instruments and folk songs with a wry nod to Boney M.

I want the audience to become critical thinkers about the systemic religions of the world. I want to distance the message of my piece to foster my audience’s critical thinking about the constant religious hypocrisy throughout history rather than theatrically mocking the belief of faithful adherents.

CONCEPT / ANALYSIS / RESEARCH / DESIGN / REHEARSAL / EXPERIENCE

Performance, Ophelia

Statement:

What would you do if the man you loved killed your father? My performance of Shakespeare’s Ophelia from Hamlet explores the capacity of betrayal and heartbreak to erode one’s innocence and sanity. Ophelia, once obedient and pure, is driven to commit suicide by her intense grief for her dead father and her despair over Hamlet.

I decided to incorporate singing in my performance to capture the Elizabethan era of the piece and to accentuate Ophelia’s insanity. The use of movement, blue fabric, a water soundtrack and fluid movements made the concept of drowning a central aspect of my performance. Using my hands and face to press into the fabric created an interesting image of someone trapped and struggling, representing Ophelia’s dire struggle to continue living. My decision to pause between each push into the fabric established a sense of uncertainty in the audience as they questioned where movement will appear next. My decision to incorporate these elements engaged the audience and established an eerie and melancholic atmosphere, allowing me to fully embody Ophelia’s anguish. Towards the end of my piece the climax is created where I become completely unhinged and yell Hamlet’s lines; “get thee to a nunnery”. This section evokes pity from the audience for they are drawn into Ophelia’s seemingly sweet persona at the start of the piece and then are witnesses of how her loss and pain has ruined her.

I want my audience to recognise Ophelia as a victim; a casualty of the actions of others, to be consumed by her pain and to be confronted by her madness. By beginning my piece slowly and then changing to a much quicker pace I develop significant tension and therefore make it easier for the audience to connect to Ophelia. My intention is to convey the corruption of virtue and innocence in a unique and engaging way.

6-8 MINUTE SOLO PERFORMANCE

Performance, Secret Bridesmaids’ Business

Statement:

What would you do if it was finally your wedding day, the happiest day of your life, that you have dreamt about your entire life, the day you finally get to marry the man of your dreams… and you find out that he has been cheating on you?

Secret Bridesmaids Business is a melodramatic performance that encapsulates main character Meg and her personal view on her tricky unexpected situation she has ended up in on her wedding day. As a director and performer, numerous decisions were taken in order to realistically and believably become Meg in Secret Bridesmaids Business. The original script written by Elizabeth Coleman, exhibits a side to Meg that the audience exclusively experiences through the character's heart to heart rant about her situation. I admired the characterisation portrayed by Meg, however I as a director and performer, using the original script as inspiration, was able to craft a perspective of Meg that I felt was a successful portrayal in that a roller coaster of emotions experienced by Meg was illuminated. With the assistance of external sources such as Margo Robbie's Mirror Scene in ‘I, Tonya’ I learnt how to physically show and express emotions in a way that I believe suited Meg as a character as well as performed in a way that was skilful.

My intended impact for the choices I made on crafting the perspective of Meg was for my audience to recognise the true painful emotions that are buried behind a happy mask of a face. That everyone has a perspective and should be allowed to express how they are feeling without the expectation of covering it up or pretending that they are feeling ok.

6-8 MINUTE SOLO PERFORMANCE

Costume Design, Stories in the Dark

Statement:

What would you do if you were orphaned in a war and had to survive on your own? My costume design for Stories in the Dark by Debra Oswald illustrates that stories are an escape from reality into a fantasy world and can be used to try to reunite with their loved ones.

Stories in the Dark explores the importance of storytelling. It mixes fantasy (the stories) with reality (the character’s real-life experiences) and how the stories help lessen the trauma. The key themes are the power of stories, friendships, hope, loss and survival. My costume designs of the ‘reality’ world are represented by the time period WW2 (1940’s) in Guernsey, Channel Islands in England. The fantasy world will have bright colours that contrast to the sad reality of the real world. The characters will wear dull, depressing colours and have ripped torn clothing to symbolize the destruction of war and chaos. The fantasy world is set as a 1940’s storybook. The stories give hope so the colours of the costumes of the ‘fantasy’ world are bright.

I researched 1940’s patterns, styles and images which I used for all the character’s ‘realistic’ costumes. The stories or the ‘fantasy world’ are inspired from ‘Into the Woods’ and ‘Divergent’ as I wanted to create a dystopian genre. The costume decision that I made was that the coats and hats will hide their physical body and identity. The fabric choice also connects the texture to the character personality and how they belong to their world. Anna and Tomas carry the story about the impact of war on children, how they are experiencing PTSD because they have been displaced from their families. The impact this will have on the audience is that they will visually experience the character through their costume. The colours, texture and style of costume will transport the audience into the experiences of the children who lived through World War 2 on the Guernsey Islands.

4-6 COSTUME DESIGNS / SUPPORT MATERIALS / 4 PRELIMINARY SKETCHES

Performance, Home

Statement:

My performance is an adaptation of Red Panda by Amanda Yeo. It portrays an eye-opening exploration of ‘being out of place’. Through my piece, my character experiences a cultural disconnection to her family and heritage and believes she has been blindsided by her culture.

My character is a young Asian girl who is a typical teenager. She is a quirky and loveable girl who visits a museum on a school excursion. However, the exhibit features artifacts like plates, a pipe and slippers that represent her past life. She identifies these items because they remind her of ‘home’ and says that visiting the exhibition is like visiting her grandmother’s house. The variety of objects had a remarkable effect on her life which shaped her sense of identity when she was younger. But the approach of Yeo was to display the displacement of identity and longing to be more than what and who you are. The monologue reveals the idea that individuals need to move on with their lives whilst looking back and reflecting on your past self and think about her overwhelming loss of identity and making the audience relate to the exact feeling of reflection.

Realism is highlighted by the setting of the stage with a golden frame hanging from the back and blocks at the front of the stage alluding to the idea of being in a museum. This minimalistic set helps focus on the scenario of my character as a student going on an excursion whilst emphasising her reaction and behaviour to recognising her past. The monologue was edited to focus on the loss of cultural identity and creat a more engaging and succinct impact on the audience.

6-8 MINUTE SOLO PERFORMANCE

Performance, Awkward Redemption

Statement:

My individual project is a performance called Awkward Redemption. It is a humorous piece with a lingering dark side about a timid poet speaking at her mother’s wake. I chose this piece because I can sometimes be an awkward person, especially with my height, so I felt I could embody the character well.

I have chosen to perform this comic monologue using realism to add to its poignancy. I include a soundscape in the opening moment to indicate that there is a crowd at the wake. This enhances the reluctance of my character getting up to speak. My costume reflects my timid and awkward character. It is a plain black blouse with a floral green skirt and simple black flats. The minimal use of colour and conservative print shows she isn't very adventurous and sticks to what she knows. The black indicates the scene being set at a wake. The pop of the green colour represents the awkward side of her and is a visual reference to her Irish heritage.

In my performance I use transformational acting to include the role of the mother. While she only says a few lines it is really important for the audience to understand the relationship between the mother and the daughter as it is central to the piece. As the mother I become hunched and point upwards, speaking in a stronger and nastier Irish accent. This helps to differentiate the characters for the audience.

My set really encapsulates an older Irish woman's house with the use of lots of doilies, flowers and wooden chairs and tables to set the scene.

When watching Awkward Redemption, I want the audience to laugh and relate to the awkwardness of my character but shift to a feeling of empathy and sadness towards the end. My favourite kinds of performance are those that bring you on a rollercoaster of emotions and I feel that my performance does that.

6-8 MINUTE SOLO PERFORMANCE

Scriptwriting, Pop

Statement:

Pop explores the concept of humanity and how no one is perfect through the relationship between Alex and her Grandfather, Henry. Through the use of magic realism Alex travels through time to see Henry's past but also the past of Australia - the evolution of humanity in both a personal and national growth. As Alex explores her Grandfather's past through flashbacks, she learns important lessons that no one is born perfect. Everyone makes mistakes yet there are options for second chances and luck is important.

The choice to use magic realism was inspired by Lally Katz Neighbourhood Watch in which the past and present intertwine for a lesson to be learnt. Through using magic realism Alex and Henry's lives intertwine as Alex learns more about her Grandfather's past and discovers although she thought he was perfect just like her he is human, just like her he makes mistakes. Pop was also inspired by John Misto’s The Shoe-Horn Sonata, by creating the past through multimodal features, it dives into Australia's history applying real events and photos to create a realistic view into not only a personal but shared imperfect history.

The use of Ensemble cast in my script allows for multiple minor characters to create the world around Alex and Henry. It also allowed me to have more freedom to not have the same set of characters in each scene allowing it to be truly Alex and Henry's story.

The reason to explore a relationship between a Grandfather and Granddaughter was inspired by the relationship with my Grandfather who I viewed as my hero before he passed. The aim of my script is to explore humanity and the relationship between people and their heroes, with Alex and Henry’s relationship being the core of the story.

SCRIPT OF A COMPLETE 15 MINUTE PLAY

Performance, Boot

Statement:

How far would you go for your best friend?

For my IP, I have chosen to perform a play titled Boot by Joanna Erskine which tells the story of how a girl is wrongly accused for causing a car crash which killed three of her friends. This piece intrigued me through how it is told. I wanted to express the emotion in Dana’s story and the way that the truth is slowly unravelled throughout the piece.

I focused on using Jacques Lecoq’s Seven Levels of Tension and the movement of undulation to create an emotional build up during the crash scene. My aim is for the audience to feel as if they are watching the car crash happen while Dana retells the events. In order to help with this, I watched an adaption I found on Youtube by TheVoicesProject. Seeing this enabled me to imagine the other characters better and how they would react to the crash, allowing me to be able to put myself into Dana’s shoes and visualise what it would have been like if I was there myself.

My costume resembles a school uniform to show the audience Dana’s age and to give a sense of time and place. I decided that it would be best to keep the stage design simple, giving focus to the acting and costume and also allowing the audience to visualise the chairs transforming from chairs into a car. This was inspired by Jerzy Grotowski’s Poor Theatre.

I want the audience to sympathise with Dana as she reveals the truth of what really happened on the night of the crash. As she recounts the events and calls out her best friend’s lie, it serves as a reminder that there are two sides to every story.

6-8 MINUTE SOLO PERFORMANCE